Succube

Rarely does Troma release a "high-quality" movie. That's a big surprise! Every time, we get the puzzled feeling of their reputation in bringing us the best of the worst. DEF BY TEMPTATION is an exception, however, so it's no big deal that Tromaville gets whatever their fans can chew on. Even with an all-black cast, it's a very well made flick on an independent level. The dark atmosphere is what really makes this hot and spicy. It has a style of its very own, a vampire horror opus that involves seduction, eroticism, and redrum...er, murder. Noteworthy is Samuel L. Jackson as a priest, but for an early screen appearance, don't expect much. If you're used to those 70s blaxploitation horror classics, including ABBY or SUGAR HILL, then consider this to be a special alternative to those glory days, only in a more updated fashion. A rock-solid example of how to make a personal movie, ladies and gentlemen.

I give this film high marks in spite of its limitations, which are primarily budgetary only. I thought the casting was perfect, particularly in Kadeem Hardison (who's career I had thought should have been, by rights, much larger), and Cynthia Bond, who's feature turn as the succubus was terrific—both terrifying and seductive at the same time. There were references to this film being firmly in the genre of "blackspoitation," but again, given the obviously low budget and other factors, I thought they did a bang up job with what they had to work with. Compared to say, "Vampire In Brooklyn," a big budget studio film starring Eddie Murphy, this little film succeeded in every important way, and in comparison fared so much better for all the reasons you watch a movie in the first place, two hours of solid entertainment. In this regard, I think the film succeeds quite well—funny, scary, hip and funky, with a strong undercurrent of the mystery of faith. I loved it.

Def by Temptation, written, directed, and starring James Bond III, isn't your typical 1990s horror flick. Released at the height of the golden era of VHS and late-night cable TV, this low-budget indie film carved out a space for itself by mixing supernatural horror with social commentary and a distinctly stylish aesthetic. More than three decades later, it still holds up as a bold, atmospheric, and culturally significant film that blends genre thrills with deeper messages.

The plot follows Joel (James Bond III), a young man who has spent most of his life in the quiet shelter of a religious upbringing. After a crisis of faith and a need for self-discovery, he leaves his small town and heads to New York City to visit his childhood friend K (Kadeem Hardison), a hip and worldly actor. But what starts as a simple reunion soon takes a dark turn when Joel becomes entangled in a string of mysterious deaths linked to a seductive and deadly woman (played with eerie allure by Cynthia Bond), who turns out to be a succubus preying on men in the city.

From its opening scene, Def by Temptation establishes itself as a visually distinctive film. The cinematography, handled by Ernest Dickerson-Spike Lee's frequent collaborator-adds rich texture to the film's look. The lighting is drenched in neon, shadow, and moody contrast, creating an atmosphere that feels more like a stylish music video or a dream sequence than a traditional horror film. The use of color, especially deep reds and glowing blues, builds a sense of temptation, danger, and the surreal-perfectly aligning with the themes of seduction and sin.

The film's strength lies not only in its visuals but also in its tone. While it has moments of camp, gore, and genre fun, there's a seriousness and intention behind the horror. The succubus is not just a monster for shock value-she represents temptation in all its forms: sexual, moral, spiritual. As Joel confronts her, he's also confronting his own beliefs, insecurities, and identity. For a low-budget indie horror, Def by Temptation asks some surprisingly big questions about faith, sin, masculinity, and the influence of urban life on the soul.

The performances elevate the material beyond exploitation. James Bond III brings a quiet sincerity to Joel, effectively portraying a man torn between his faith and his curiosity about the world. Kadeem Hardison, best known for his role on A Different World, brings charisma and comic timing to the role of K, offering levity without undercutting the gravity of the plot. Cynthia Bond as the Temptress is both hypnotic and terrifying, effortlessly shifting between sensual charm and chilling menace.

One of the standout supporting performances comes from Bill Nunn (best known as Radio Raheem in Do the Right Thing), who plays Dougy, a tech-savvy psychic who becomes instrumental in uncovering the truth about the succubus. His presence adds both credibility and intensity to the film's darker turns. Also, genre fans will enjoy seeing Samuel L. Jackson in a small but powerful early role, long before he became a household name.

What's impressive is how Def by Temptation manages to incorporate religious themes without preaching. Joel's background as a minister-in-training and the spiritual overtones throughout the film bring a unique tension to the story-where most horror movies deal with external evil, this one also explores internal doubt and guilt. The climactic confrontation isn't just a battle of good versus evil; it's a moral reckoning, and the stakes feel personal.

The soundtrack is another standout element. Infused with late '80s and early '90s R&B, soul, and gospel influences, the music serves as both mood-setter and cultural signifier. It feels deeply rooted in the Black experience-particularly the tension between tradition and modernity, faith and freedom, identity and indulgence.

For a film released in 1990, Def by Temptation was ahead of its time in many ways. It put Black characters, culture, and issues front and center in a genre where they had long been sidelined or stereotyped. It also took creative risks-stylistically, narratively, and thematically-that many mainstream horror films of the time would never have dared. It's part horror, part morality play, part urban fantasy, and part cautionary tale.

Of course, the film has its flaws. The pacing can feel uneven at times, and some of the effects (especially by modern standards) come across as dated or low-budget. But rather than detracting from the film, these elements contribute to its charm. There's a rawness, an indie grit to it that makes it feel authentic, like a passion project that refused to conform to Hollywood expectations.

More importantly, Def by Temptation has earned its place as a cult classic because it did something different. It wasn't trying to be the next slasher franchise or cash in on formulaic horror tropes. Instead, it gave us a smart, stylish, and spiritual horror film with a Black cast, a unique vision, and a lot on its mind. It paved the way for more inclusive storytelling in the genre and remains a touchstone for fans who crave horror that dares to be different.

There's nothing great about Troma's "blaxploitation" horror outing about a seductive vamp preying on men in New York. Ernest Dickerson's ("Jungle Fever," "Do the Right Thing") cinematography and Samuel L. Jackson's supporting performance as a priest are just some of the assets going for this trash, but nothing more. Personally, I prefer Pam Grier's 70s films over this loser. My evaluation: * out of ****.

Though I'm not sure if that's a badge of honor or not. Lloyd Kaufman (Mr. Troma himself) says in an intro video to the movie, that this is the best movie Troma has done ... ever. That might be saying more about the other movies than this one I guess ... But seriously though, I remember this from the first time I watched it and when I did re-watch it recently it did not age that badly. Especially if you consider the fact that it has no budget and many things that were "in" in the 80s, but look ridiculous now!

Don't be fooled by Samuel L. Jacksons face on the cover. Yes he is in the movie, but of course not really that much. The star of the movie is someone else. The dialogue seems crazy at times, but one particular dialogue is almost enough to rate this a "10" (no I haven't but the scene is really hilarious!) -> Reply being "we've got to do all that ...". You'll know it, when you hear it! I'm looking forward to listen to the audio commentary.